‘Resurrection’ Brings Bi Gan Back to Cannes With a ‘Movie Monster’ That Showcases a Century of Cinema: ‘A Celebration of Life on This Earth’ (EXCLUSIVE)

by

Renowned Chinese director Bi Gan returns to Cannes with the competition entry titled “Resurrection”. This intriguing work can be described as a six-act sequence that delves into a surreal, nightmarish world filled with cinematic creatures, where dreams, unfortunately, have ceased to exist.

Bi explains to EbMaster that he aimed to dissect the realm of spirits into six fundamental aspects. “Resurrection” introduces a cinematic beast, offering a retrospective journey through a century of films. These six elements – sight, sound, scent, taste, touch, and mind – serve as the foundation for the intricate chapters within the movie. This film marks Bi’s first feature since his groundbreaking 3D experiment “Long Day’s Journey Into Night,” which left audiences awestruck at film festivals in 2018.

In the film titled “Resurrection,” featuring Jackson Yee, Shu Qi, Mark Chao, Li Gengxi, Huang Jue, and Chen Yongzhong, humanity has lost its capacity for dreaming, leaving only one creature captivated by the fading remnants of the dream realm. When a woman with an extraordinary ability to see these remnants emerges, she decides to venture into the monster’s dreams, driven by her determination to unearth concealed truths that lay within.

Back in 2015, I, a budding filmmaker, made my global cinematic debut with “Kaili Blues.” This film earned me the title of Best Emerging Director at Locarno, and ever since, I’ve been recognized for crafting dreamy, poetic movies that are characterized by lengthy takes.

Bi expresses a desire to revive or at least familiarize the audience with the classic experience of cinema-watching as screens continue to shrink. The initial tale takes place in the 1900s, serving almost like a prequel to the main story, and is filmed in a manner that honors the traditional style of cinematography.

Remarkably, the film pays homage to German expressionism by employing a “cinematic monster” character to illustrate various eras of filmmaking history. Bi comments that the sixth tale closely resembles a contemporary movie, and notably, one of the actors is an elderly actress who had starred in films previously. By including her in the most modern section, the story forms a loop, as it recalls the early days of cinema celebration.

This methodology signifies a significant shift from “Long Day’s Journey Into Night,” initially showcased in Un Certain Regard at Cannes, eventually captivating art house audiences worldwide due to its daring second act – an uninterrupted 59-minute scene shot in 3D. During the movie’s viewing, spectators were required to don 3D glasses halfway through the screening. This technical breakthrough, combined with the film’s mesmerizing storyline exploring memory and lost affection, solidified Bi as a prominent figure in modern cinema.

When questioned about the central theme of “Resurrection,” Bi explains, “As a director, I infuse my personal experiences into every project. This film embodies aspects of my life and my spirit. Although it honors a century of cinema, it also symbolizes my appreciation for life on Earth and the connections people share within each other, their communities, and their surroundings.

In my creative process, I, the director, often find that the Chinese titles of my films, such as “Kuang Ye Shi Dai” or “wild era”/”savage age”, diverge from their English counterparts. This is a pattern consistent throughout my filmography. However, once you’ve watched the movie, the disparities in meaning between the two versions become clear and coherent.

Working with Shu Qi’s cast demanded unique methods. For seasoned actor Bi, directing was effortless thanks to Shu Qi’s innate understanding: “Shu Qi possesses an extraordinary ability to adapt and a keen sense of expression. When I would discuss scenes with her, I could say, ‘This scene is like dancing,’ and she grasped the concept instantly – she’s incredibly intuitive.

For the youthful actor Jackson Yee, who radiates energy and vitality, Bi adopted a more tailored method of interaction. “I’d discuss emotions and films with him, and provide him with detailed insights about potential outcomes,” Bi explained. “I would share my thoughts, which he would then use to shape his performances.

With his film debuting in Cannes’ prestigious competition section, Bi recognizes potential barriers for global viewers. “Since audiences may not grasp my personal perspective and don’t reside where I create, there will be a gap in their interpretation of the film compared to my own,” he explains. “However, what I aim for them to feel is the movie’s aesthetic appeal and the sensation of watching it in a theater. In essence, everyone who watches my films becomes like the cinematic creature in the story – we’re all part of the same ecology that this film is showcasing.

Although it’s been seven years since his last feature film, Bi has confirmed that he is now working on new projects. He shared, “I feel like I’ve had enough rest during these past seven years. With this movie now released, I plan to start something new within the next year or so.” He also hinted at a potential topic for his next project, stating, “I already had an idea while editing this film, but I won’t reveal it yet — the concept is there, and I’ll spend some time nurturing it.

The director stated: “Each new film I create, I vow it will be less complex. This project was intended to be straightforward – divided into six parts – but as shooting progressed, it became more intricate. I’m trying to commit to myself that the next movie I produce will be easier to make.

The film titled “Resurrection” is jointly produced by Dangmai Films (Shanghai) Co., Ltd. and Shanghai Huace Film Co., Ltd., along with France’s CG Cinema. The company Les Films du Losange manages its international distribution.

Read More

2025-05-20 18:19